Egypt and Beyond * Installment 6
The Fabulous Dervish Show
The Band
Notice the balconies with additional members
Just "notice" the balconies!
The show opens with the performers offering a wonderful
musical concert, featuring traditionally dressed soloists from the group, all
in white gallabyas and turbins.
Favored musicians would step out of the group to offer a solo on their
particular instrument; mizmar, doumbeck, and finger cymbals.
My favorite (and I believe everyone else’s as well)
performer was the gentleman playing the finger cymbals - - very large
sagat. This man is charismatic,
charming and downright adorable as he plays to the crowd as well as seemingly
challenging his fellow musicians.
Just delightful. 
Mr. Charming
What an Entertainer - Clearly He Loves This!
After this musical session, the first dervish appeared on
stage with what I would call his entourage (fellow dancers who stand by to hand
off frame drums to him as he spins and I am sure to keep an eye out that he
does not spin off the stage). As
he spins the religious music of the Sufi is being played. Predominantly the haunting sound of the
ney, rebaba and drum (I did not see finger symbols here) while the singer
provides religious chanting/lyrics.
He worked the frame drums into various positions, and dropped his head
back periodically as if in another world (trance like), but never lost or
slowed his pace which remains very consistent. After the frame drums are gone he began working the “skirts”
(again tanoura – which may refer to the dance, dancer or their large skirt) and
with each removal, wrapped and folded the skirt then appeared to cradle it
while spinning to finally hand it off to one of the entourage. It is very exciting as the tanoura
builds his performance, a layer at a time, as with removing a layer at a
time. When he stopped, when it was
final - - he stopped on the mark and did not sway an inch. AMAZING.
Amazing! 20 Minutes Turning - - at least.
As another side note: The senior dancer, “Lafife” is said to symbolize the Sun, while the junior dancers (in the case those I refer to as the entourage) are the “Hanatia” and represent the constellation revolving around him.
The show continued with another group of performers, a trio who had a completely different attitude; more playful with the audience and I would say perhaps designed with a theater style touch. They played to the audience as they turned, not appearing to be in the trance of the first tanoura, whose head turned with his body, rather than snapping as you might see other styles of dance. This snapping did occur with two of the three dancers. The center performer had a constant grin on his face - - which was infectious. He looked to be having the time of his life, rather than the “trance of his life”. To see three dervish on stage, skirts flying, all that rich color whirling - - just spectacular.
These Gentlemen are not only incredible "turning"
But They had Fun with the audience at the same time.
I will not soon forget the atmosphere as we left the
caravanserai and walking into the still crowded streets of the Khan to make our
way back to our tour bus. Taking
in the scents of the warm night air laced with tobacco from shisha pipes, food
cooking in corner cafés, and even the dust of the streets, left me with a
permanent picture in my mind’s eye of another time - sensory delight.
Caravanserai: (def) a roadside inn where travelers could
rest from the day’s journey. Caravanserais
supported the flow of commerce, information, and people across the network of
trade routes covering Asia, North Africa, and South-Eastern Europe.
**Wikipedia
“Think, in this batter’d Caravanserai
Whose Portals are alternate Night and Day,
How Sultan after Sultan with his Pomp
Abode his destined Hour, and went his way”
**Fitzgerald, Rubaiyat of Omar Khayyam, Stanza 17 in the 5th
Edition